Beethoven: Triple Concerto; Brahms: Double Concerto. David Oistrakh, violin Mstislav Rostropovich, cello; Sviatoslav Richter, piano; Herbert von Karajan, Berlin Philharmonic Orchestra and George Szell, Cleveland Orchestra. EMI CDU 7243-5-66954-2.Beethoven: Triple Concerto; Brahms: Double Concerto. David Oistrakh David Fyodorovich Oistrakh (Russian: Давид Фёдорович Ойстрах, David Fiodorovič Ojstrah , violin Mstislav Rostropovich Mstislav Leopoldovich Rostropovich KBE (Russian: Мстисла́в Леопо́льдович , cello; Sviatoslav Richter Sviatoslav Teofilovich Richter (Russian: Святосла́в Теофи́лович Ри́хтер, , piano; Herbert von Karajan Herbert von Karajan (April 5 1908 – July 16, 1989) was an Austrian conductor. His obituary in the New York Times described him as "probably the world's best-known conductor and one of the most powerful figures in classical music," and placed him "in the topmost , Berlin Philharmonic Orchestra and George Szell, Cleveland Orchestra. EMI (ElectroMagnetic Interference) An electrical disturbance in a system due to natural phenomena, low-frequency waves from electromechanical devices or high-frequency waves (RFI) from chips and other electronic devices. Allowable limits are governed by the FCC. CDU CDU Christlich-Demokratische Union (German: Christian Democratic Party) CDU Clasificación Decimal Universal (Spanish) CDU Control & Display Unit CDU Control Display Unit 7243-5-66954-2. EMI's "Great Performances of the Century" series continues to live up to its name with two more gorgeous performances and improved sound. This coupling from 1969 is outstanding in almost every way. Beethoven's Triple Concerto has never impressed audiences as much as his violin and piano concertos, but it's still full of delicious melodies and soaring themes, especially the first movement. In an impassioned reading from three of the 20th century's greatest musicians and one of its most celebrated conductors, the piece can't fail. Likewise, the Brahms, which I must confess to liking more than the Beethoven, is equally impressive, perhaps even more exquisitely tuned under Szell than the Beethoven is under Karajan. I especially like the way Szell and company handle the final movement with its gypsy moods, although there's no denying the second movement Largo in the Beethoven, too. But, you see, riches abound in both pieces, and the soloists seem to be in perfect agreement on all counts, playing as though they were one performer. The sound in both works is slightly better than in their earlier pressings, a bit smoother overall. The Beethoven displays the greater depth of field, but it is somewhat muddy in the midrange during big orchestral tuttis; my guess is because of some over-reverberation in the halt. The Brahms is the more transparent of the two, but it is also the more one-dimensional. No matter, it's the music that counts, and it's a pleasure to have both interpretations remastered so well at mid price. This disc has to be counted a must-buy for any classical library.--JP |
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